In the Bedroom
Directed by Todd Field; starring Sissy Spacek (Ruth Fowler), Tom Wilkinson (Matt Fowler), Nick Stahl (Frank Fowler), Marisa Tomei (Natalie Strout) and William Mapother (Richard Strout).
If only The New York Times hadn’t revealed the entire plot of In the Bedroom in their perceptive review of the movie, it might have been the first film I thoroughly enjoyed since Magnolia. But, alas, they told everything, and then some, leaving me with 130 minutes of what should have been an enrapturing movie sabotaged almost to the point of tedium. Fortunately, there are several outstanding performances that still make the film worth seeing.
Directed by Todd Field, In the Bedroom stars Tom Wilkinson as Matt Fowler, a doctor in a small town in Maine. Sissy Sapcek plays Matt’s wife Ruth, who directs the high school chorus. (The chorus provides most of the movie’s eerie, moody soundtrack.) The contented couple begin to squabble when their college-aged son (Nick Stahl) becomes involved with Natalie Strout (Maris Tomei), a sexy older woman who has two children and abusive husband from whom she is separated. Because, unlike other movie reviewers, I prefer not to ruin prospective audience’s experiences, I won’t say anything else about the film’s plot, except that it’s a quietly enthralling thriller that explores the complexities of family and marriage.
The performances, however, are fair game, and, Wilkinson – the English actor most well known for his role in The Full Monty – is superb as a staid small town doctor. Sissy Spacek – no introduction seems necessary – is perfect as an erudite and overbearing mother. Even Marisa Tomei, who hasn’t done anything of substance since her award-winning performance in My Cousin Vinnie, delivered a powerful performance as the abused wife. But the film’s real tour de force is Todd Field.
In The Bedroom is Field’s first film as a director. Prior to making the movie, he was better known for his acting performances in films like Walking and Talking, Eyes Wide Shut, and Twister. Unlike most first time directors, Field displays a surprising amount of patience. He lets the camera linger on images, filling the movie with a series of still life like shots that reflect his characters’ interiors. The result is a quiet, contemplative movie that radiates maturity well beyond the director’s years. – JS